Every Local Release

* Geoffrey Castle, The Deep Well Sessions (out now, Twisted Fiddle Music, geoffreycastle.com): To call this two-disc release expansive is a massive understatement. Nearly every style and genre of music is accounted for among the album’s 19 tracks. “In Flight” recalls the shades of despair and melancholy evoked in Clint Mansell’s masterful “Lux Aeterna,” while on “Alyeska,” Castle is somehow able to conjure an amped-up, Hendrix-like sound from his violin. In addition to original compositions, Castle performs a variety of covers across the entire spectrum of music, from Alice in Chains’ “Man in the Box” to Django Reinhardt’s “Minor Swing,” in arrangements that will simply make your brain explode. (Thurs., June 27, Kent Jazz & Art Showcase)

Baptist Generals, Jackleg Devotional to the Heart (out now, Sub Pop, thebaptistgenerals.com): It took 10 years for Chris Flemmons and his band to complete the follow-up to 2003’s No Silver/No Gold. The result is rich, fussed-over Americana that pairs Flemmons’ strained-voice ruminations with red-herring experimental detours (see the excellent instrumental opener “Machine En Prolepsis”). It’s slow-burning, occasionally gorgeous, and, for fans of the group, worth the wait. (Sat., July 13, Sub Pop Jubilee, Georgetown)

Golden Gardens, Narcissus EP (out now, Neon Sigh, goldengardens.bandcamp.com): It’s no wonder Golden Gardens—the duo of Aubrey Bramble and Gregg Neville—list raindrops against a windowpane as an influence on the band’s Facebook page; its latest, this four-song EP, is essentially the musical equivalent of that sound: a soothing dream-pop lullaby. (Fri., June 28, The Josephine)

Stone Gossard, Moonlander (out now, Monkeywrench Records, pearljam.com/moonlander): The second solo album from the Pearl Jam guitarist, Moonlander proves a cohesive sequel to 2001’s Bayleaf. While Gossard’s solo career has offered more artistic freedom (each new track is accompanied by an original piece of art) and space for punchier, more rhythmic arrangements, this collection feels delightfully stripped-down. The result is an explorative trip into more folky (“Bombs Away”) and psychedelic (“Witch Doctor”) sounds, compiled by Gossard over the past 10 years.

Kite Repair, Barometrics EP (July 1, self-released, kiterepair.bandcamp.com): This is tranquil folk music at its finest. None of these four string-based tracks are rushed, and occasionally lead singer Michelle Fellows’ haunting voice takes its sweet time getting from one charming lyric to the next. Just press play and pour yourself another cup of coffee; you’ve got time to spare. (Wed., July 10, Tractor)

Polecat, Fathoms (out now, self-released, polecatbluegrass.com): Since jumping onto the scene in 2010, this Bellingham-based act has built a loyal following of whiskey-sipping, boot-stomping bluegrass fans across the Northwest. On the band’s second full-length release they slow it down a bit, trading boisterous, Celtic-infused dance tunes for more technical jam-based arrangements. While the Irish tradition remains, this collection includes sonic inspiration from all around the globe. (Sat., July 6, Nectar Lounge)

The Purrs, The Boy With Astronaut Eyes (out now, Fin Records, thepurrs.com): After more than a decade in the business, the Purrs are still at it, recently releasing a sixth album, the first to feature rhythm guitarist/backing vocalist Liz Herrin. On Eyes, the band has found the perfect balance of classic and psych rock, with hints of shoegaze shining through. (Fri., June 28, Barboza)

Spekulation, Truth Be Told EP (out now, self-released, spekulation.bandcamp.com/album/truthbe-told): MC/producer Spekulation didn’t have to look far to find talent to feature on his latest EP; guest artists include vocalists Michele Khazak and Ripynt, violinists Alex Guy and Alina To, and Seattle-based cellist Maria Scherer Wilson. I know what you’re thinking: violins, cellos, and hip-hop? Trust me, it works.

The Swearengens, Waiting on the Sunrise (out now, self-released, swearengens.bandcamp.com): Sunrise is as country as country comes. With Fredd Luongo’s deep yet subtle drawl, a heaping helping of bluesy riffs, and just a sprinkle of heartache, you can practically hear the tumbleweeds rolling by.

 
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